drawing with friends

after Cezanne (2).jpg

I was at the National Gallery of Art yesterday drawing with friends.  I had planned in advance to draw from Cezanne’s Still life with Apples and Peaches because it relates well to my own still life paintings of the moment.  My drawing of one section of his still life is rendered approximately actual size. I have been doing more work on it at home too, using the image on NGA’s website and the zoom feature.

Our drawing group had a good turn out yesterday.  (And of course I consider Cezanne a friend too.)

Here’s Cezanne’s painting for comparison.  Even if you are far from the gallery, you can copy it too.

https://www.nga.gov/collection/art-object-page.45986.html

bright colors

cezanne fruit copy

At the National Gallery yesterday I encountered my old friend Cezanne and his Still life with Apples and Peaches.  I made this rapid, unfinished drawing with water soluble crayons.  Cezanne’s painting is dark.  My version brightens it up a lot.  The crayons are very pure.  Cezanne’s painting has, no doubt, darkened with age.  But he also mixed the colors to deepen and dull them, giving them a feeling of gravitas.

I made my little drawing very quickly.  I choose to be impulsive nowadays.  Don’t question whether you have time to draw or raise other obstacles.  Just pull out the notebook and have at it.  With the drawing above, my daughter arrived soon after I started so the drawing didn’t go very far.  But I like it’s summary cheerfulness all the same.

A10368.jpg

The whole shebang

I posted the teaser earlier.  Here is the whole drawing I made after Paul Cezanne’s “Still life with Apples and Peaches” from the National Gallery of Art.  I made this copy from a reproduction in a book, though I have also made drawings (numerous times) in front of the actual painting.

It took me all day of drawing off and on to make all these lines.  But what a wonderful way to spend the day!  This was my trip to Aix en Provence, my chance to hang out with Cezanne yet again.

He’s my dear old pal.